Jack White’s new vinyl record

Jack White’s New Vinyl Record Features Hidden Tracks And Holograms


Jack White recently broke a record for the fastest ever creation of a vinyl cut, by recording the title track to his new album Lazaretto, then pressing it to wax and packaging it all in less than four hours. Now, his vinyl-based conjuring continues with the announcement of an ‘Ultra’ LP version of the album, which comes packed with bizarre curiosities.

The 11-track album on White’s label Third Man Records, includes different mixes and sequencing to the digital version, and will play at 33.3rpm as normal. However two secret tracks hidden in the centre label will play at 45 and 78rpm respectively – a repeat of the trick White pulled with his Dead Weather supergroup and their album Sea of Cowards.

Side A meanwhile demands that you place the needle on the inside of the record as it works its way outward, eventually getting caught in a perpetual locked groove at the outer edge (the more jaded White fan might suggest that you won’t be able to tell when said groove begins). The first song on Side B however, has two different intros, one acoustic and one electric, which differ depending on where the needle is dropped. The two grooves then blend into one halfway through the song.


If that wasn’t enough to play with, there is also a hologram on Side A hand-etched by artist Tristan Duke, featuring a spinning angel appearing to float in the blank area between the groove and the label. Side B is given a matte finish so it resembles a shellac 78rpm record.

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“We’ve pulled off a lot of interesting ideas all within this one LP,” White says in an introductory video, adding how he thinks that the locked groove, the three speeds within one record, the dual groove, and the hologram vinyl extras have never been attempted before, but with a caveat: “Of course there’s no knowing unless you go through every record ever made.”

This release is far from the first innovation that Third Man has attempted. They’ve printed records on old medical X-rays, created ‘Texas-sized’ 8-inch and 13-inch vinyls, and encased 7-inch singles within 12-inch albums that need to be destroyed to access the secret record. 2013′s collaborative release with Revenant Records, that compiled the bluegrass, gospel and blues songs released by Paramount Records in the 1920s, was housed in a velvet-lined oak cabinet with LPs kept inside a “laser-etched white birch LP folio” and digital files stored on a brass USB stick.


guardian.co.uk © Guardian News & Media Limited 2010

Sade’s ‘Stronger Than Pride’ To Be Released On Limited Edition 180g Vinyl LP

Sade’s ‘Stronger Than Pride’ To Be Released On Limited Edition 180g Vinyl LP


“A sublime, enduring classic…Sade’s timeless masterpiece.”


Sade :: Stronger than pride


Camarillo, CA – Music aficionados worldwide are buzzing with excitement over the release of Sade’s ‘Stronger Than Pride’ on limited edition 180g vinyl on Marshall Blonstein’s Audio Fidelity. In 1988, three years after leaving their fans begging for more, Sade released their third studio album, ‘Stronger Than Pride’, one of their best works ever. An international hit that lit-up the Pop, Jazz and R & B charts.


The platinum selling album includes sensual Brazilian bossa nova inspired acoustic material as well as three Billboard charted singles – the #1 smash “Paradise,” “Nothing Can Come Between Us” and “Turn My Back On You.”


On ‘Stronger Than Pride’, probably Sade’s most stripped down and sparse album, the band creates the perfect groove for romance and fulfills the promise of their stunning debut by continuing a sense of sophistication and understated elegance, two hallmarks of the Sade sound. Sade’s singing is exquisite.


‘Stronger than Pride’ exudes a greater confidence than the first two records, the talented band no longer has anything to prove. Stuart Matthewman on guitar and sax, Paul Spencer Denman on bass and Andrew Hale on keyboards are strong musicians/composers with distinctive character, the perfect vehicle for Sade’s mature, lush vocal lead.


Sade offers cool composure… a unique sound that infuses Soul, Pop, Contemporary Jazz and a little Middle-Eastern flavor. It’s impossible to separate the allure of this sultry music from the persona of the woman singing it, for Sade truly is a femme fatale of mythic dimension.


“…brilliant, exceptional, amazing and original – a warm and blissful pop-flavored modern jazz treasure.”



Love Is Stronger Than Pride


Nothing Can Come Between Us

Haunt Me

Turn My Back on You

Keep Looking

Clean Heart

Give It Up

I Never Thought I’d See the Day

Siempre Hay Esperanza


Mastered by Kevin Gray at Cohearent Audio


For more information: http://www.audiofidelity.net/content/sade-sronger-pride


Metronomy – The English Riviera

A pop album with clever twists and a laid back listening experience.

Joseph Mount, the man behind Metronomy, hails from Totnes in Devon. You’d never have guessed it from the locationless indie-disco of his earlier music, but the third Metronomy album sees him carefully hone in on the charms of southwest England. The market town in question is reimagined as (a different/fantasy) the English Riviera, a romantic destination where magic happens – and it’s apparent from the get-go, with the sound of cawing seagulls opening the album’s first song.

With this relocation comes a new sound too, a further excursion into Mount’s fascinating brain. The restless pace of 2008’s Nights Out is tempered with frequent moments of calm, and the insistent top layer of squelchy falsetto replaced with more modest, lithe hooks. She Wants is newly sentimental, adding a personal touch to the more generalised feelings the songs had previously explored, while Everything Goes My Way has a female lead vocal and the glamour of a John Hughes film from the 1980s. The latter is deliciously summery, but one of the album’s weakest for how uncompelling its structure is.

The lowlights on The English Riviera are thankfully rare. Trouble’s tart vocals head wistfully into a swaying doo-wop beat, with typically smart lyrics such as the cute tautology of “There’s a tear in your eye / And there’s no ‘I’ in tear”. And that brings it back to the familiar; Mount’s strengths as a songwriter come from his willingness to show off, however much he may be aware of this.

Love Underlined is incredible, a standout song that hypnotically rises through urgent, insistent and twisted rhythms that start out at odds with each other and eventually come together into a giant four-to-the-floor chorus. The Bay, a theme tune of sorts for the album’s setting, sees the band taking on Daft Punk for energy levels – and more than matching that winsome fervour. “This isn’t Paris, this isn’t London, this isn’t Berlin, this isn’t Hong Kong, this isn’t Tokyo,” Mount sings charmingly, glamorising his hometown through summery, lightly roughed-up choruses.

If Nights Out was the soundtrack to an all-hours party that threatened to blow the speakers, The English Riviera is the music in the ears of a restless insomniac. The type of punch Metronomy now pack is differently varied, and instead of relying on catchy melodies, its excitement and originality is now more broadly sourced.

Presumably digital but surprisingly pleasant and mellow sound. Not fatiguing and not at all what I normally think of as digital. Good French pressing and mastered by Nilz at the Exchange in London who sadly died the same year this was released. His great mastering lives on!

Barry White – Can’t get enough – Audio Fidelity

Audio Fidelity continue in their quest to bring the highest quality sound and vinyl releases to those records that are otherwise ignored by the Audiophile community. Ie instead of the same reissues of jazz and classic rock titles by the other labels Audio Fidelity cast their nets wider to bring you gems like Kate Bush and Barry White.

Barry White’s third solo album, Can’t Get Enough was an enormous transatlantic hit and the one that cemented his reputation in the UK.

White’s was true music of the masses. With its lush orchestral arrangements and his sultry vocal, the seven-track Can’t Get Enough is his most accomplished work. All the songs could be either for long term-relationships or the first flush of a new romance: Oh Love, Well We Finally Made It; Can’t Get Enough of Your Love, Babe; I Love You More Than Anything (In This World Girl).

Along with Isaac Hayes and Marvin Gaye, White was in the top tier of soulful bedroom troubadours of the 70s. However, while Gaye and Hayes often introduced spiritual or social dimensions into their work, White was happy to ruminate exclusively on the subject of love. This has sometimes led to his material being undervalued, while the others have been exalted.

White’s manifesto was laid out in the album’s first three tracks: the beautiful instrumental opening of Mellow Mood, Part I segueing into the commercial pop perfection of You’re the First, the Last, My Everything and then into the 10-minute boudoir symphony of I Can’t Believe You Love Me.

You’re the First, the Last, My Everything was a classic number one. White’s praise of simple love struck a chord; “We got it together, didn’t we, we definitely got our thing together, isn’t that nice?” he drawls in his unmistakable bass tones. The instrumental break with Gene Page’s soaring strings is about as life affirming as music gets. It is still a guaranteed floor-filler all these years later, with one foot in country, the other in northern soul.

Can’t Get Enough… reached number four in the UK top 20 and became a rather ubiquitous addition to mid-70s households. It is a superb example of White’s craft. There were always strong morals behind his love raps, often espousing the joys of monogamy and doing right by your woman. Given all the love shenanigans going on here, it comes as little surprise that it has been said that more children have been conceived to White’s music than that of any other artist.

The sound quality is superb! The orchestration is smooth and sublime. Each instrument stands on its own with great separation and decay. Really a joy to listen to. Thanks Kevin Gray!

The record is packaged in a  really thick glossy cardboard sleeve with all the songs’ lyrics on the inner sleeve. Release your own inner walrus!




“Hoarder House” Full of Records



“Hoarder House” Full of Records  27

Many customers had asked us about the “hoarder house” full of 250,000 records that Apollo purchased last year, and what it looked like. Here are some pictures that were taken part way through the clean out (when we first got there we couldn’t even get through the doorways!)

It took us 6 months to pack and remove all the records from the house.

Don’t Worry Folks, Most of you don’t have anything to worry about!


The 2 Story House was filled to the brim by a 68 year old collector who had lived in the house since his childhood. He passed away in 2011 and the family was shocked at what they discovered. They soon realized why they had never been invited over and why he had been so reclusive. His Car was filled to the brim with records and the family suspected that he had been sleeping there over the last few years, as it was impossible to enter the house. The Bathroom and shower were also full of Records. We didn’t know it was the bathroom until we came upon a toilet.

The Family Tried to sell the house as is, but found it difficult and general word of mouth led them to call Apollo (he had previously been a customer). At first glance, we wanted to “Pass on it” as it looked like a nightmare, but we knew the collector well and figured there could be something worthwhile under all that.

It was actually fairly clean, overall, other than the piles of dust from over the years.

What Kind of records are they?

ALL Kinds. While he combed thrift shops and bought anything interesting to him over the last 10 years, the older stuff showed he also bought a variety of Rock and Rockabilly & Elvis records (His favorite) back in the 50s and 60s and kept them on shelves in pristine condition.

The best thing there? The 45′s, about 20,000 on shelves, mostly all original ‘as new’ store stock Rock & roll & Rockabilly, and oddball stuff, plus hundreds of Pristine EPs ranging from Elvis, Ricky Nelson, Country Artists, to the Rare Carl Perkins Columbia EP.

We Spent just over 6 months boxing and transporting truck loads to our warehouse, where they sit today. (We’ve sorted only approx 25% in the last year)

At the same time, CBC Radio Vancouver Contacted us about purchasing their 60,000+ Collection so we really had our hands full for several months.

Are they for sale? Yes, but they are still being sorted, some are garbage and some are great (pulled out a nice Slim Harpo LP on Excello in between two Jim Reeves LPs). Thousands of records go into our massive “dollar room”, (see our blog for pictures) good priceable records go into our shop, and some go online (mainly the 45′s that are being listed regularly in our online eBay store, along with our othermassive collection from CBC Radio).


This Picture Was taken after we had already cleared part of the room! Downstairs Media Room.

This Picture Was taken after we had already cleared part of the room! Downstairs Media Room.


Downstairs Basement, We had alreay partially emptied the room before the picture was taken!

Downstairs Basement, We had alreay partially emptied the room before the picture was taken!

Downstairs Basement, We had alreay partially emptied the room before the picture was taken!

Downstairs Basement, We had alreay partially emptied the room before the picture was taken!

Downstairs Basement, We had alreay partially emptied the room before the picture was taken!

Downstairs Basement, We had alreay partially emptied the room before the picture was taken!





John Coltrane: The Complete Sun Ship Session – Mosaic Records (3 vinyl discs)



John Coltrane: The Complete Sun Ship Session – Mosaic Records (3 vinyl discs)

Coltrane completists, rejoice…..
Harmonia mundi - Tokyo Quartet

Nordic Cello Concertos

Published on August 13, 2013

John Coltrane: The Complete Sun Ship Session – Mosaic Records (3) 180gm stereo LP Box set MRLP 3005 –  [Recorded 8/26/65] – (Single LP issued on Impulse AS-9211, Aug. 1971) – Remixed from the original three-track masters ***½:

(John Coltrane-tenor sax; McCoy Tyner- piano; Jimmy Garrison- bass; Elvin Jones-drums)

Mosaic Records has always been the label that jazz completists seek out to obtain the definitive work of both legendary and lesser known (to the general public) artists, who have helped define the many jazz idioms that  collectors seek. Mosaic has sought out hidden and seemingly lost tapes of jazz giants, whereas other jazz labels have been satisfied to just issue readily available material.

Although the original issue on Impulse Records of John Coltrane’s Sun Ship consisted of only five master tracks, Mosaic Records was able to track down from the newly discovered original reels, the existence of unedited alternate takes, false starts, and edits, as well as recorded conversations between producer Bob Thiele, and Coltrane.

The Sun Ship session was recorded during 1965, among Coltrane’s most prolific years, at a time when his music was going through a period of extreme evolution. It was at the end of the period of his classic quartet comprised of the rhythm section of McCoy Tyner on piano, Jimmy Garrison on bass, and the legendary Elvin Jones on drums. Sun Ship documents the group at the crescendo of their creative peak, just a matter of months before the departure of Tyner and Jones.

The music found on this session is powerful, sometimes chaotic, and at times somber, while seemingly prophetic, not knowing that Coltrane would pass away just two years later. Coltrane’s tenor invokes a spiritual tone, and is also wildly free, while Garrison and Jones swing with a loose groove. When Tyner has his moments he solos with thundering chords and commanding keyboard runs.

Hearing this music over thirty-five years later, the impact is no less stunning and contemporary in an avant-garde fashion today than it was when first recorded. The unedited tapes with both complete alternate takes, false starts, and inserts provide a window into Coltrane’s creative musical imagination. The short conversation snippets found throughout the LPs, though not containing any historical significance, remain interesting, as John can go from a humorous aside immediately into a burst of passionate playing like he was plugged into a high current electrical outlet.

Record 1, Side A, has three takes of “Dearly Beloved,” including a false start. Side B has the first two takes of “Attaining.” Record 2, Side A, continues with takes 3 & 4 of “Attaining” plus the first three takes of “Sun Ship.” Side B of the 2nd LP features the released version of “Sun Ship” as well as the album version of “Ascent” (Take 1). Jimmy Garrison’s extended bass solo is the lion’s share of this track, and is masterful.

The third LP has five takes of “Ascent,” on Side A, and they are incomplete versions and inserts. Side B is made up of a full alternate version of “Amen” and the same released 8:17 track from the Impulse issue.

The acoustics on these records is stunning with kudos going to Kevin Reeves for the remix, and to Kevin Gray for the remastering. Listening to Jimmy Garrison’s solo on “Ascent” makes you feel like he is just a few feet away…

The Complete Sun Ship Session box set is tailor-made for the hardcore John Coltrane enthusiast, a special prize for the chosen few who would savor every note recorded by John. Though the music presented here can sound jagged and dissonant to the general public, there remains an audience of Coltrane fans and young inspired musicians, who will find great pleasure in the exploratory, wildly creative emotional roller coaster ride that Coltrane leads as chief engineer. Limited to only 3500 box sets, it would be wise to contact Mosaic Records through their web site ( www.mosaicrecords.com) to purchase your set before this issue sells out.

—Jeff Krow

Sales Of Vinyl Records Are Soaring



Here’s the latest chart from Paul Resnikoff at Digital Music News: projected U.S. vinyl music sales for 2013, based on first-half data from Nielsen Soundscan. This is no longer a fad:



The BBC reported in April that the surge has been driven by the confluence of artists releasing exclusive material through the medium, and its growing popularity among 18-24 year-olds (there’s a chicken-and-egg element to this).

College-aged buyers have also expressed a desire to keep record stores in business, the BBC said. And Pitchfork’s Mark Richardson says there’s a commonly held belief — not entirely accurate, it turns out — that LPs always sound better than CDs.

Resnikoff notes they still comprise a tiny chunk of overall music sales, though one that seems to be growing larger every year.

Also an interesting contrast with his chart from this past week showing music downloads are way down:



Read more: http://www.businessinsider.com/vinyl-music-is-surging-2013-7#ixzz2ajU61uRe

Inside the insane 50,000-watt Ibiza speaker stack built by LCD Soundsystem’s James Murphy



Inside the insane 50,000-watt Ibiza speaker stack built by LCD Soundsystem’s James Murphy

One of the most impressive sound systems on the planet


Image credit: Robert Martin

The sound system is the foundation on which entire genres of music have been built. A hulking, pulsating, blinking mass of wood, metal and plastic that delivers one crucial thing to any party — volume. Without the sound system, we wouldn’t have reggae, ska, dub, disco, or funk. We wouldn’t have house, techno, synthpop, trance, hip-hop or dubstep. Without the sound system, we’d still be dancing the fox-trot.

No one knows that better than James Murphy, the frontman of sadly defunct LCD Soundsystem, who spent his 20s working as an audio engineer before getting distracted by becoming a rockstar. But Murphy’s going back to his roots, working with mashup pioneers David and Stephen Dewaele — better known as Soulwax and 2manyDJs — to put together his dream sound-system for a three-night residency in Manchester namedDespacio.



Despacio is Spanish for “slow,” which the Dewaele brothers originally intended to use for a night in Ibiza playing records between 95 and 115 bpm. “We’ve really been into the concept of taking records and slowing them down on the turntables to produce this swampy, sexier effect,” explains David. “When we moved it to Manchester we just stuck with it.”

A huge 50,000-watt rig has been designed by the trio down to the very last detail, consisting of eight enormous 11-foot speaker stacks, positioned in a circle pointing at the audience in the center. It’s been tuned for optimum sound quality, not maximum loudness. “The system is like a dinosaur, if dinosaurs had survived and evolved along with modern creatures,” James says.

Despacio-003-560Image credit: Ellis Reid

He explains: “The old disco systems were just sound systems, really. Big hi-fis, and similar in design to sound reinforcement systems, live systems, public address systems, and jamaican dub systems. Dub systems were the first to get really specific about large masses of people moving around to pre-recorded music. And then disco systems like theParadise Garage system started using some of the hi-fi and dub techniques to make big noises.”

“As time went on, smaller, more efficient boxes and drivers were built with minor compromises to the quality but massive advantages in size, power requirements, et cetera. Each time one of these small evolutions happened, there was another small compromise (in my mind) and eventually we wound up with the modern club system. That can range anywhere from a bunch of shit piled up and run in the red to make drunk people not hear other drunk people very clearly, all the way to the modern awesome-sounding club / dance PA rigs, which, to my old-dude ears sound totally sweet if you play modern dance music, but don’t tend to reproduce ‘Hells Bells’ particularly satisfyingly.”

Despacio, on the other hand, has been designed specifically to reproduce both modern dance music and “Hells Bells” as accurately as possible. To that end, the trio will only be playing vinyl through the system. “Vinyl sounds better,” James says, simply, when quizzed why he’s rejecting digital music. “Why do things the easy way?” asks Stephen.


Getting the components right is important, too. They’ve been supplied by McIntosh, an audio equipment company founded in 1949, just before the very first sound systems were beginning to take shape in Jamaica. Its heritage includes supplying amplifiers for the Woodstock festival in 1969, and creating the Grateful Dead’s Wall of Sound. “Those amps are ‘banuts,'” says James. “Which is a combination of bananas and nuts. All three of us have old Mcintosh amps in our studios and homes. We’re longtime fans.” David adds: “James is forgetting another very important reason: they look amazing! Those front plates with the blue VU meters are a design classic, and eight humongous stacks with the amps built in and the meters moving in unison will look better than most modern club lighting.”

Once the three nights are complete, the system won’t be dismantled. “We may eventually find a sacred space on a mystical island and build a shrine where it will live forever,” says James. Stephen adds: “We’d love to do a US tour with the sound system, and we imagine that due to the sheer size and weight of the system, we will need three trucks likeEmerson, Lake, and Palmer had. The flyer should be a helicopter shot of the three trucks driving on the turnpike saying MURPHY, DEWAELE and DEWAELE on the roof.”

Despacio-010-560Image credit: Robert Martin

Of course, given the collective musical talent involved in the project and how often they’ve worked together in the past, it seems churlish not to ask if there might be some collaboration in their future. “We’ve been making some ‘stuff’ and ‘things’ together for fun over the past few years, but we haven’t made any decisions about if / when / how to inflict these dubious mongrel creations onto the world,” says James. “The truth is that we’ve made some amazing music together but ‘someone’ has been too ‘busy’ tasting wine and producing popular music, so none of it has been finished yet,” David adds.

Despacio is running for three consecutive nights in the ballroom of New Century House during the Manchester International Festival, from July 18th to the 20th.

Former HMV worker opens new shop named HVM (now WAH)




Former HMV worker opens new shop named HVM

Derry local, a HMV worker for a decade, flips sign upside-down after letter from HMV’s legal team: store is now WAH

WAH store in Derry

Fighting HMV … WAH record shop in Derry. Photograph: Tony Cregan/WAH/PA

A former HMV employee, who opened his own shop called HVM last week, has been forced to change its name to WAH after facing legal action from the original store.


The Derry-based record shop is run by Tony Cregan, who worked atHMV in the city’s Richmond Centre for a decade before it closed last year following the businesses’ financial crisis. According to entertainment.ieCregan claims his branch of HMV consistently made a profit and raised 15,000 signatures on a petition to have it saved, until he decided to go it alone. “We thought, what is the point calling the new shop Local CDs or whatever, we’ll just call it HVM. HMV is gone,” Cregan explained.


However, a week after the shop opened, Cregan was accused of harming HMV’s reputation by confusing locals who might think the two shops are associated, receiving a strongly worded letter from their legal team. HMV are still trading in the UK and Ireland after being sold torestructuring specialists Hilco, who warned Cregan that his store would “cause substantial damage to our client’s reputation and goodwill”.


Shortly after receiving the letter, Cregan had an epiphany when a customer who possessed a particularly distinctive local accent unwittingly offered up an alternative name: “We were talking in the shop about what was going on and some boy who overheard us turned around and said ‘HM what?'” Cregan said, “So we just turned the sign upside down and now it’s called WAH.” A small speech bubble has also been added to the sign, which reads: “His Master’s Voice has told us to change.”


Cregan is determined to fight his former employer and also stated that the attention around this dispute has caused the city’s locals to rally around the store in support: “In their legal letter, they quoted our use of their colour scheme – pink and black. People are saying do they own the alphabet and the rainbow as well? Did they copyright them?” he added. “It’s like David and Goliath. People are saying to fight them.”